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I want to share a story today that is in places a bit of a negative one. It’s a project that has offered some frustration for well over a year now and although there’s ultimately been a positive resolution, there’s definitely some lessons to be taken away from the hurdles over which we’ve stumbled since its inception before the pandemic – side note, someone needs to come up with shorthand for “before the pandemic” because I have a feeling that’s a phrase we’re all going to be using a lot! At the risk that my moaning may cause you to stop reading this, I’ll lead with the good news and what this project is all about. We’re getting a lovely piece of public art near our gallery! A “Welcome to Lucius Street” mosaic, designed by local artist Janet Ventre, inspired by the heritage of Belgravia (the name of the conservation area Lucius Street is in). Another positive before we get too far into it, is it was funded by a now ancient pot of money for cleaner high streets, awarded because the traders on the street were committed to litter picking, planting nearby flowerbeds and generally keeping the place looking clean and tidy. Now, “ancient” may have been a slight exaggeration, but this project was conceived and fully funded well over a year ago and only in June of 2021 have we finally been able to break ground on it. Some clarifications at this point: whilst the sign if not insignificant in size it is completely manageable for a talented artist like Janet, so the 18+ month delay has not been caused by the pace of her work; in fact, to date she’s not been allowed to touch a tile for this particular piece of work. I’m sure there are some people reading this who are blessed with significant foresight, that may already be predicting what the hold-up was. And for those out there who were thinking “planning permission” give yourself a pat on the back you’re absolutely right. But we are also blessed with significant foresight also. Don’t think we went into this having not made that consideration. We’d confirmed the location was public land, that the sign could be installed there, that the project met with community aspirations and had confirmations from those in the know that this was not a fruitless endeavour. So it came as quite a surprise to us when at the final hour an unexpectedly large fee was required of us by the planning department… Our sign, it turned out, had been deemed to be an “advert” by planning standards, despite having no mention of any of the traders or businesses on the street and its focus being the heritage of the area. What if we removed the “Welcome to Lucius Street” text? Still an advert we were told. The point was debated for several months, the funding did not stretch to include the planning fee, plus a site visit and drawing from an architect to show the location and elevation the offending piece of art; heaven forbid its size might be so excessive as to cause a blot on the horizon. After nearly a year we relented. We begged a friendly architect to assist us with the plans and put up the money for the planning application ourselves. Add in another few weeks of delays for the planning portal seemingly not having the categorisation we were told we fell into, and a further few months or so of the application not being made live for public comment and we arrive at the start of June and the final, perhaps most frustrating, twist in the tale. A chase had been made in an attempt to ascertain why our application had not been made live. The response was a phone call, an apology, a refund, and with it all an acknowledgement that we should never have been required to submit a planning application for the project in the first place, we could go ahead and start producing our sign. Over a year on from being ready to get underway, we were right back where we started. This isn’t intended to be a dig at the council and their planning team, we understand why these processes exist, to protect conservation areas, green spaces, listed buildings and generally keep Torbay a lovely place to live. But the whole situation shows up a flaw that so many are guilty of and that’s a lack of creative thinking. Throughout this whole debacle, our project was being put inside a box simply because there was a process that said it had to be. It didn’t matter that there wasn’t a box with the right label on, it still had to go in a box. If only some “outside of the box” thinking had been available… The important part of course is that we got there. Our project can now go ahead, and we’re excited to see it installed hopefully in the not-too-distant future. But at present we are embarking on another programme of work and the warning signs are there of a similarly inflexible approach. So this story isn’t so much a complaint but a reminder, that sometimes we need to approach things differently. I’m not saying throw caution to the wind and chuck the rule book out with it, but perhaps it’s ok to have a healthy recognition that in a world with infinite possibilities sometimes the answers won’t be written down. When we find ourselves in these positions, we don’t have to see it as a problem, but instead an opportunity for a creative solution. #BeachHutMagazine #LocalPlanning #TorbayCouncil #TorbayCulture #JanetVentre #ArtizanTorquay

Discover some wonderful examples of printmaking at Artizan Collective Gallery's Exhibition, The Design Room. Visit here for details. The art world can at times be a daunting and intimidating one. Ambiguous work titles, impenetrable artist statements and on occasion a blank space that speaks volumes in place of a price tag… We try to make the experience a little more approachable of course; we offer a huge range of work with prices to suit every budget but even then, we fully understand that the prospect of buying an original work of art can feel like a big commitment, and as a purely indulgent expenditure the feeling of needing to justify a purchase is all too understandable. Reproduction prints are of course one more affordable option and the right print, professionally produced on high quality stock with a limited-edition number, can be a valuable addition to any collection. Perhaps more importantly, if purchasing a print enables you to take away a representation of a work that you love, then that’s all that really matters. Another alternative, and one that we’re personally really big fans of, is exhibition and artist books. From small guides and zines (often free or otherwise acquirable for a handful of pound coins) all the way to a professionally published biography of the artist that might set you back upwards of £40. These can be great keepsakes and reminders of that gallery visit you loved or the artist whose work you one day aspire to own. But here we want to talk about something even better than both these options, a medium that is immensely popular amongst collectors of all standings, in part for its diversity and aesthetic style, but surely also because it frequently offers the chance to own original works of art for a fraction of what you might expect. This is the wonderful world of printmaking, which critically, is distinct from that of reproduction prints. The only thing these two subsections of art have in common in fact, is the sharing of the word “print” in their titles. Unlike reproduction prints, which may also often be seen named giclee prints, printmaking is an artform in its own right just like oil or watercolour painting, and like these artforms it is a process by which original works of art are created. And it is a rich and diverse one at that with printmaking encompassing a huge range of techniques and styles including linocuts, woodcuts, engravings, etchings, lithographs, drypoint and monoprints. Each of these is its own unique practice, requiring vastly different skills and resulting in vastly different styles of work. But all are processes by which original work is made. Where the conflation between reproduction prints and printmaking often arises, is edition numbers. In the case of reproduction prints this refers to the number of copies, the number of times a digital rendering of an original work is sent to the printer to be reproduced with high quality inks on archival quality papers. These numbers vary; a small edition may be as little as 50 or below with the maximum quite literally being limitless, with unlimited editions often the cheapest option for acquiring work. In printmaking, the edition number refers to the number of the times the artists physically undertakes the printing process, the act of taking the block, etching, woodcut or whatever it might be, applying inks and paints, and physically creating a new and unique original work. It is done by hand and therefore even if this process is repeated, 5, 10 or 50 times, no two works will be the same because the human hand has had a role in producing them. This is no trivial endeavour. Much the same as any other artform, there is technique and skill here akin to the careful manipulation of paint on canvas or chisel on stone. This is a process that takes time, perhaps minutes, more likely hours, and the methods involved can be fickle, with success only confirmed when the paper leaves the press. And this all must be preceded by the creation of the design itself; the woodblock, the lino, the etching, the implement with which the print will be made, where the skill of the printmaker is tested as they pre-judge every mark and how it will ultimately appear when it comes to printing. All of this is what makes printmaking quite so special. Unique to any other form of artwork, exhibiting exceptional technical skill and craftsmanship, and offering original work for less than you might expect. We’re currently exhibiting a wonderful collection of printmaking in our showcase The Design Room, 30 printmakers working in a range of practices at the top of their respective fields, with framed, mounted and unmounted original works available to purchase from as little as £15. One of our exhibiting artists is the talented Anna Grayson. Perhaps best known for her pastiche photography, she is a keen printmaker as well and has some tips for what to look out for when investing in the medium. Because the artist can make several artworks for the same effort as one painting, say, they are cheaper to buy. So it is often possible to buy a handmade print by a well-known artist for an affordable price. They can be very affordable. Prints get to interesting places. There are some very interesting collectors of prints, and it is not unusual to find another edition of a print you have bought in an important collection. Prints can be good investments. There is something about numbers with prints going on here - they are made in enough numbers to get around and get known, but sufficiently rare to be sought after. This can be the case even with living artists. Prints are easy to care for from a conservation point of view. Most prints are made with inks that are light fast so they can tolerate being hung in a light room (though out of direct sunlight please!). Provided they are properly mounted and framed they will last for decades, centuries indeed. What to look out for: First and foremost, if you fall in love with it, it will be a good buy. Look out for ends of editions or short editions. Look out for artists who have had work hung in the academies - the RA, the RWA and in this region the South West Academy. The name "Double Elephant Print Workshop" is usually an indication of quality in Devon. But also have an eye out for new talent - you may get a real bargain here! Do check artists out on Instagram. This is now the go-to platform for artists, arts organisations and galleries. Explore on Instagram to find the kind of thing you like. But buying from a reputable gallery is always a good idea. What to avoid - make sure you are buying a handmade print and not a reproduction of a painting or drawing made into a giclee print. But remember, you can also get handmade digital prints, and these can be worth collecting if they are editioned and signed. Avoid like the plague misleading descriptions such as "watercolour print" - there is no such thing, it will be simply a giclee copy. You can discover The Design Room at art-hub.co.uk/ex/tdr21 and visit the exhibition until June 27th at Artizan Collective Gallery on the Torquay high street. #TheDesignRoom #tdr21 #ArtizanTorquay #EnglishRiviera #Printmaking #AffordableArt #AnnaGrayson

Summer is approaching and with it full “unlocking”, and if the hotel bookings are anything to go by, Torbay is about to get busy. It’s not a surprising forecast perhaps; despite lockdown meaning a break from work for furloughed employees and closed businesses, it’s certainly not been a holiday, and with international travel remaining complex, going abroad is all but off the cards. So, the “staycation” has found itself amongst holiday royalty, and the English Riviera, according to Trip Advisor, is expected to be crowned King of the UK resorts. The anticipation of this will be music to the ears of the hospitality and tourism community; overflowing cafés, fully booked boat tours and not an unreserved restaurant table in sight between now and the New Year. We ourselves are planning for an extended tourist season, with an earlier, longer English Riviera Summer Open Exhibition launching next month, a show-stealing Devon Open Studios programme which we’re bringing to Torbay, and bursary shows with acclaimed South West artists Rod Ashman and Mike Tingle to name but a few of our offers for content hungry visitors. But in the same breath, I doubt I’m the only one who sees the headline “Record Summer Season” and takes a trepidatious gulp. Even in a normal year, the town centres can feel overwhelmingly busy, and the peace and serenity of our Geopark home can feel a little distant when every cove from Torquay to Brixham is blanketed in beach towels. For us, and I’m sure this is the same for many other businesses, it’s also the knowledge that whilst everyone else is getting set for a holiday, having been closed for most of the year so far, the luxury of getting away just isn’t an option, with every day we can open being vital to recovery from over a year of disruption. This isn’t a complaint - we’re excited for Torbay to hopefully have a successful year ahead - but more a reminder that the tourist season is something that local businesses and residents will have to endure as much as they will hopefully reap the benefits from, and that this marathon is something we can bear together. It’s great seeing tourists in our venues, but its infinitely better meeting locals and we hope that you’ll brave the crowds and continue to join us throughout this undoubtedly busy period. We’re hoping to bring some specific offers only to local residents over the coming months so do keep an eye out, and if there’s anything in particular you’d like to see from us to make the tourist season a little more bearable, we’d love to hear from you. As always, for our upcoming exhibitions, head to art-hub.co.uk/exhibitions #BeachHut #June2021 #ERSO21 #EnglishRiviera #WhatsOn

The annual English Riviera Summer Open Exhibition returns for another year as the country approaches "business as usual" and Torbay ramps up for what is expected to be an exceptionally busy tourist season. After a year of interruption, we've already kicked off 2021 with some wonderful exhibitions at the Artizan Collective Gallery that have captivated audiences, but the Summer Open is probably our most anticipated calendar offer. Despite considerable upheaval, both our Summer and Winter Open exhibitions were able to run last year, and even though it was reduced to just 3 of its intended 8 week run, the English Riviera Winter Open secured record sales for our annual open series. And with the South West now in a considerably better position than it was at the end of 2020, our Summer Open promises to be a big event for the region. This year the exhibition runs earlier to take maximum advantage of the peak tourist season, running throughout July and August for a full 8 weeks and will also host the first exhibition launch event we've been able to hold in over a year. Continue reading for full submission information and we hope to see your work in show with us this Summer! Deadline for submissions is Midnight June 13th Skip to submission form Opportunities: This is a selective exhibition, your fee and confirmation of terms entitles you to have your work judged by the selection panel for possible inclusion in the exhibition Up to 8 works can be submitted Works will have the opportunity to either be selected (these will be guaranteed to hang) or reserved (these will be requested for delivery and stored on the gallery floor for viewings; they may also be hung) All submitted works will be listed on the online exhibition page provided adequate details and high quality images are provided at the point of submission All successful artists will be entitled to supply, in addition to their accepted work: Up to three mounted and wrapped works for browsers or Up to three additional small for sale products such as catalogues or artbooks, and Greetings cards; either 5 copies of 3 designs or up to 15 original greetings cards All selected works will be showcased for a period of 8 weeks during the height of the tourist season on the English Riviera Exposure in the English Riviera’s premier selective exhibition gallery Opportunity for commercial sales of work Features in exhibition print and digital promotional material delivered via the channels of the exhibition curators and partner organisations Long-term exposure on the exhibition digital hub including micro-profile and the opportunity for additional features Selected artists may be recommended to our partner services to have their work featured in additional online listings Works under £200 will be promoted as part of our Artist Support Pledge work (see art-hub.co.uk/artistsupportpledge) Submissions You can either make your submission below using the embedded form, or if you prefer, download a PDF copy here, submit via Curatorspace, or load this form in a separate window here. Once you have made your submission, payment links can be found here: Single Entry - Pay Here Multiple Entry - Pay Here